Tag: painting

No.1 is kissing, there has been slight vibrancy added for the photo, my room lighting is poor. No.2 is the reality of my room lighting and three more that preceded. The colours taken from cars and the shapes illustrating the inner and outer worlds having impact points at which is the location of life. Perhaps.

Oh yeah and on my desk is my cow

I’m learning to look and leave stuff. Yesterday I successfully added to kissing. Painting in layers tells me about me, I don’t know if I do things on purpose or am in ‘control’. Is that important?

I’ve been thinking about control a lot recently, stirred up by the theme of relationships and it’s a dawn.

Some images from a week of weird and unsettled but exciting and fun. It’s cold and hard to not beat myself down for being in bed and missing appointments. Also not sitting at the desk for long. Seeing and comparing is gentler but takes a strong will that lives outside. hard to get when you’re inside.

Idk why this dumb embed isn’t working but can you please watch Holley’s video All Round the Bend it’s so nice, it captures in the song his belief in divine intervention to create his artwork and that his artwork’s direction really comes from within.

Power of a Mother photographed in the artists Atlanta home by Gillian Gaub for NY Times

Holley is a man of many myths and talents. Born in Jim Crow-era Birmingham, Alabama, as the seventh of 27 children, Holley traveled across the South and held a wide array of jobs before making his first artwork at the age of 29.

Well known for his assemblages, Holley incorporates natural and man-made objects into totemic sculptures. Materials such as steel scrap, sandstone, plastic flowers, crosses, and defunct machines commemorate places, people, and events. The exhibition will feature a selection of sculptures and drawings on loan from the artist. In addition to these works, Holley will create site specific installations reflective of the spontaneous and improvisational nature of his creative process.

Davila’s work I have loved, very confronting, satirical imagery combined with an expressive use of colour while involving comic-strip seperation and masterful figurative depictions leaves me with no further desires.

Stepping from the politics of art to political art is easy for Juan Davila. Arriving in Australia in the wake of the Pinochet coup in Chile, he brought a Latin American understanding of the post-colonial and the fragility of independence in the face of superpower politics. (1)

The Moral Meaning of Wilderness at Monash Univeristy of Modern Art (MUMA)

“The ‘Moral Meaning of Wilderness’ exhibition is a tour of the various approaches to the landscape: ‘plein air’ painting, studio landscape work, sublime landscape, historical evocation of landscape, modernity and the landscape, natural disaster, childhood memory of a landscape, woman in the wilderness. The ‘After Image’ works seem to refer to fantasies, inner space, unnameable objects, microcosm and immense space. Within the representation of “the land” one easily forgets that we are dealing with complexity and a field of projections. The political, the sublime, the moral stance, corporate destruction and the future of our environment come to mind.”

– Juan Davila

Wilderness 2010A Man is Born Without Fear 2010After Image, A Man is Born Without Fear 2010

“The after-image is a momentary body-memory – not intellectual but bizarrely willed – perhaps a bit like the recollection of a dream or the instant slip that uncannily reveals the unconscious. In monumentalising this trace, Davila delivers us to another ethereal zone: the breath of libido, buffeted by clouds of repression and misty internalised myths. As portraits of evanescent memory, they are wantonly memorable.” (2)

While his paintings have often fractured images into multiple parts, Davila’s work has also consistently drawn upon figurative traditions, from portraiture to narrative tableaux. His subjects are often people of ambiguous gender, mixed race or marginal social status, questioning public attitudes to identity and sexuality. Davila’s more recent series focusing on the treatment of refugees continued this approach, using the human figure to explore the psychology of current events and situations. These works, along with Davila’s recent portraits and studio paintings, also represented a major stylistic shift over the previous decade, while maintaining the artist’s commitment to a socially engaged art. Working in a mode reminiscent of 19th French salon painting, Davila rejected the cool detachment of modernism and postmodernism, infusing his figures with a sense of beauty, intimacy and emotion. (3)

I just found Kupka from looking at Orphic Cubism of which he was a co-founder and his work makes my eyes want to vomit with joy, like his stuff is so good it makes me furiously happy, which is what seems to happen when I find Eastern European artists that I really like.

Kupka was born in Austria-Hungary 1871, studied in Prague, he painted historical and patriotic themes at this time, afterwards he studied in Vienna where he focused on symbolic and allegorical subjects. He was influenced by the lifestyle of Karl Diefenbach and in 1894 Eastern philosophy became involved in him.

Kupka served as a volunteer in WW1 and was 25 years older than all the other soldiers. Serving with Blaise Cendrars he is mentioned in Le Main Coupée. He left the front due to frostbite of the foot.

Working as an illustrator in Paris where he settled from 1894, he became known for satirical drawings in newspapers and magazines.

He was deeply impressed by the Futurist Manifesto in 1909 and so painted The Piano Keys/Lake (img 2) that same year marking the beginning of his abstract representational style which increased in his work during 1910-1911 in which reflected his theories in motion, colour, and the relationship between music and painting (Orphism).

And his studies go on including completing a book; Creation in the Plastic Arts published in 1923, exhibited widely with the Cubist and other Abstract Art/ists.